We meet where slow green water meshes
with swatting meadows. In Slavic shirts,
they hail our raid into well-drained marshes.
Traditional business here's to steer us
beneath the boughs and along the arms,
then serve us gherkins and farmyard stories,
to oar us up for open canoes
before we wrong-turn a channel
their land was left, and soak our knees.
Their teenagers bus to school in Cottbus,
grow up to squat the Berlin tenements.
Their roads are damp with moorhens and coots,
but expect their verse to trill with jays,
their dances to settle as colourful flocks.
They've cultural centres and anthologies.
And while the halls of greater states
proclaim their headlines and daytrip anecdotes,
right of the decimal point, the stats
ripple whenever they do the math
and discover Texas. Quaintly dressed,
the local tale is a pregnancy myth:
they got their Bible, but pools evaporate
where enlightened princes ban your books.
Now they build budgets and write their rights,
the woodlands where their nucleotides hid
are cleared for cattle, and only clutter
where leaves flop over our twig-dodging heads.
Alistair Noon's poetry collections include Earth Records (2012) and The Kerosene Singing (2015), both from Nine Arches Press. Concert at a Railway Station, his translations of the Russian poet Osip Mandelstam, was recently reviewed in the TLS. ‘Translocal Underground’, a short film about him by filmmaker Paul Cooke, appeared last year. He's lived in Berlin since the early 90s.